. . . [a] highly distinctive voice . . . impressive . . . the programme is discerningly judged in its balance and range. Once heard, never forgotten, Stutzmann's dark, coppery contralto has an androgynous quality. Fiery and icy, her expressive nuances are varied but never excessive. She is also a proficient conductor: singer and players breathe as one.

Stutzmann's heady mixture of raw energy, high-octane passion and stunning vocal acrobatics works marvellously in this imaginatively planned recital . . . It's a "tour de force" not only for singing -- Stutzmann also shows great prowess as a conductor, inspiring her ensemble Orfeo 55 in vibrant and expressive performances throughout.

. . . characterful singing . . . "Io sento" from "Arsilda" is deeply felt; "La gloria" from "Tieteberga" demonstrates considerable flexibility; "Semo in seno" from "Il giustino" has a wistful quality; "Sovvente il sole" from "Andromeda liberate" is slow and sensuous . . . Stutzmann is one of those singers who should be represented in every vocal collection.